REVISED EDITION
THE
PHOTOGRAPHIC
EYE
Learning to See with a Camera
Michael F. O'Brien & Norman Sibley
THE PHOTOGRAPHIC EYE
Learning to See with a Camera
Michael E O'Brien & Norman Sibley
Davis Publications, Inc., Worcester, Massachusetts
Copyright 1995
Davis Publications, Inc.
Worcester, Massachusetts U.S.A.
To the photography students of
Seoul American High School, past,
present and future.
No part of this work may be repro-
duced or transmitted in any form or
by any means, electronic or mechan-
ical, including photocopying and re-
cording, or by any information
storage or retrieval system without
the prior written permission of the
copyright owner, unless such copy-
ing is expressly permitted by federal
copyright law. Davis is not autho-
rized to grant permission for further
uses of copyrighted selections or im-
ages reprinted in this text without the
permission of their owners. Permis-

sion must be obtained from the indi-
vidual copyright owners as identified
herein. Address requests for permis-
sion to make copies of Davis mate-
rial to Permissions, Davis Publi-
cations, Inc., 50 Portland Street,
Worcester, MA 01608.
Editor: Claire Mowbray Golding
Design: Greta D. Sibley
Printed in the United States of
America
Library of Congress Catalog Card
Number: 93-74644
ISBN: 0-87192-283-5
1098
765
Cover: Student photograph by Leah
Gendler.
Student photograph by Gregory Conrad.
4 The Photographic Eye
Contents
7 Introduction
Part 1 Getting Started
11 Chapter 1 From Blurs to Big Business
History • Photographic Careers
Part 2 Elements of Composition
35 Chapter 2 Tools
Manual or Automatic? • The Camera, Inside & Out • Exercises: Testing the Shutter & Aperture
• Loading Film
51 Chapter 3 What is Composition?

Snapshots vs. Photographs • Structure, Balance, Dynamics • Exercises: Mat Frame • Cropping
67 Chapter 4 Developing A Critical Eye
Critique Session • Evaluating a Print • Exercise: Sample Crit
83 Chapter 5 Point of Departure (f!6 at 1/125)
Starting Simply • Doing it Right
87 Chapter 6 Line
Pattern, Structure, Direction • Exercise: Pattern
95 Chapter 7 Texture
Expressing the "Feel" • Exercise: Leaves
103 Chapter 8 Shape
Mass, Proportion & Relation • Using Negative Space * Exercise: Circles & Ovals
113 Chapter 9 Light
Controlling Exposure • Information & Mood • Using a Light Meter • Other Functions of Light
• Depth of Field * Exercise: Bracketing
129 Chapter 10 Motion
The Science of Blurs • Stop and Co • Exercise: Blurred Movement
137 Chapter 11 Perspective
Lenses • Different Ways of Seeing • A Point of View • Exercise: A Point of View
Part 3 People, Places & Things: Exercises & Examples
151 Chapter 12 Things
Exercises: Bicycle • Hubcaps & Taillights • Eggs • Object & Its Shadow • Bottles & Classes • Water
• Old Things
167 Chapter 13 Places
Exercises: Landscape • Architecture & Environment • Neighborhoods • Zoo/Farm • Store Windows
* Construction Sites
181 Chapter 14 People
Exercises: Hands • Elders • Children • Soft-Light Portrait • Side-Lit Portrait • Prop Portrait • Detail
Portrait • Mood Portrait
197 Chapter 15 Putting It All Together
Exercises: Fairs • Open Markets • Rain • Playgrounds • Sports Events

209 Chapter 16 Breaking the Rules
Exercises: Night • Monotone • Silhouettes • Grain and Diffusion • Double Exposure • Photo-Copy
Photos • Panel Panorama • Text and Image
Appendixes
227 Appendix 1 Processing
Processing Film • Printing • Manipulation
243 Appendix 2 Color
From B&W to Color • Technical Considerations
253 Appendix 3 Manipulation & Presentation
Presentation * Manipulation
265 Appendix 4 Advanced Techniques
Tools
272 Mat Frame (template)
273 Cropping L's (template)
275 Bibliography
279 Glossary
281 Index
287 Acknowledgments
6 The Photographic Eye
Introduction
P
hotography is both an art
and a science. As an art, it
expresses a personal vision.
As a science, it relies on technology.
This double nature is not unique to
photography. Every kind of creative
expression —such as music, dance or
painting —has both a purely artistic
side and a more scientific or tech-

ological side as well. For example,
paints are a kind of technology, and
using them well involves a consid-
rable amount of technical skill. The
main difference between photogaphy
and more traditional visual arts, such
as painting, is the complexity of its
technology.
In any of the arts, the first step
toward excellence is mastering tech-
ique — learning to use a specific tech-
ology skillfully and effectively. In
photography, this means that you
must learn to control the camera and
darkroom equipment, rather than let-
ting them control you.
No artist, however creative, can
produce a masterpiece without a
sound basis in technique. On the
other hand, no amount of technical
skill can make up for a lack of artistic
vision. Both are essential. The goal
of any artist is to use good technique
creatively.
Simply speaking, a camera is a
machine that produces a two-
dimensional (flat) copy of a three-
dimensional scene. The process by
which this is done may seem like
magic. (In fact, when cameras were

first introduced, many people all over
the world thought that they were
magic.) Fundamentally, however,
there's no magic in the camera. It's
just a box with a hole in it. You
supply the magic. When you, the
photographer, use a camera creative-
ly, it changes from a simple,
mechanical machine into an artist's
tool. Instead of making random
copies of things, it begins to say
something about them.
Here are some of the technical
questions a photographer must
answer for every photograph: How
will the lighting affect the clarity and
mood of the photograph? How fast
should the shutter speed be? How
large a lens opening should be used?
What should be in focus? What
belongs in the frame, and what
doesn't? What lens should be used?
All these factors influence each
other, and they all affect the final
photograph. A photograph is "suc-
cessful"—in the technical sense —
when these factors all work well
together and are combined with cor-
rect darkroom procedures. When a
creative composition is added, the

photograph becomes aesthetically
successfully as well.
Eventually, you will learn how to
control each of these factors to
achieve the effect you want. But it
will take time. As you may already
know, it's often hard to keep all of
them in mind every time you take a
picture.
Fortunately, it is possible to begin
more simply. This book is designed
to help you do that. It begins with a
brief summary of photography's
past, present and future, including a
discussion of photography careers.
This is followed by an introduction
to the camera itself. Chapters 3 and
4 provide a set of guidelines for com-
posing and evaluating photographs.
Chapter 5 explains a simple way to
start producing correctly exposed
photographs. As soon as you get that
basic background behind you, you
will begin your first photograph
assignments. Chapters 6 through 11
deal with specific "elements" of
photography. At the end of these
chapters are exercises that will help
you learn to recognize and use each
element discussed.

The remainder of the book is com-
posed of additional exercises (with
examples) and an Appendix, cover-
ing most of the technical information
(including a section on color photog-
raphy). Finally, there's a glossary to
clarify any confusing terminology
and a bibliography to help you locate
more detailed information.
7
part 1 Getting Started
Student photograph by Edward Maresh.
9
Dorothea Lange, Migrant Mother, Nipomo, California, 1936. Gelatin silver print. Library of Congress,
Washington, D.C.
From Blurs to
Big Business
chapter 1
S
urprisingly few new art
forms have been invented in
I the course of recorded his-
tory. Depending on how such terms
as "art" and "new" are defined, the
novel as a form of literature may
qualify, as may rock 'n' roll and
other kinds of electric and electronic
music. More recent candidates in-
clude computer graphics and the
current wave of digital creations

known as multi-media.
One form that certainly qualifies
is photography. From its beginnings
as a technological curiosity, it has
grown into one of the most impor-
tant influences in our society and
culture. Every day, we encounter
hundreds of images produced with
cameras and film. We learn about
the latest fashion trends from photo-
graphs — and about the latest war or
famine. We also learn about the re-
markable planet on which we live
and about the people with whom we
share it.
HISTORY
There is no single correct answer to
the question of how and when pho-
tography began. No one person can
be credited with inventing it. In-
stead, it emerged through centuries
of tinkering.
The first printed photographs were
rhe
ain
made between 1816 and 1840. The
first recorded discovery that certain
chemicals turned black when exposed
to light was made in 1725. The basic
design of the cameras we use today

has been in use since the 1500s. The
Chinese figured it out even longer ago
than that — as early as the fourth cen-
tury. So, photography is between
1,500 and 150 years old.
Prelude
The first stage of photography's
evolution in Europe was the camera
obscura, which is Latin for "dark
chamber" (camera = chamber or
room; obscura = dark). The camera
obscura was a room, or a small build-
ing, with no windows. One tiny hole,
fitted with a lens, projected images
from outside the room onto the far
wall inside it.
The image was upside down and
not generally very clear, but it was
good enough to become a useful tool
for artists. The projected image could
be traced, providing an accurate
sketch, which might then be devel-
oped into a painting. Portable ver-
sions of the camera obscura were
developed by the 1660s. The camera
existed, but photography hadn't even
been imagined yet.
In 1725, a German professor of
anatomy, Johann Heinrich Schulze,
attempted to produce a phosphores-

cent stone (one that would glow in the
dark). He mixed powdered chalk into
a nitric acid solution and was sur-
prised to discover that the mixture
turned purple in sunlight. After in-
vestigating, he discovered that his ex-
periment had been contaminated with
silver salt (silver chloride) and that
this was causing the reaction to light.
Schulze was curious enough about
this phenomenon to experiment with
it. He covered bottles of his mixture
with stencils so the light would
"print" letters onto it, but the letters
would disintegrate as soon as the mix-
ture was disturbed. Evidently, he
never thought that his discovery
might have any practical application.
Early Prints
In 1777, a Swedish chemist, Carl
Wilhelm Scheele, repeated Schulze's
experiments. He also discovered that
ammonia would dissolve the silver
chloride and leave the image intact.
With this second discovery, the basic
chemistry of photography (exposing
silver chloride to produce an image
and "fixing" it with ammonia) was
established, but —again —what it
might lead to was not recognized.

Forty years later, the plot began to
thicken. A number of people began
trying to produce a photographic
image on paper. In France, Joseph
Nicephore Niepce developed an
11
Joseph Nicephore Niepce, world's first permanent camera image. Courtesy Gernsheim Collection, Harry Ransom
Humanities Research Center, The University of Texas at Austin.
emulsion (a light-sensitive varnish)
out of bitumen of Judea, a kind of
asphalt. Instead of turning black, this
material is hardened by light. So, to
produce an image, Niepce coated a
glass or pewter plate with his emul-
sion, exposed it to light and then
washed the plate with solvents. The
solvents dissolved the unexposed (and
still soft) emulsion, producing a
print: the world's first permanent
camera image. It was only some blurs
of light and dark, and the exposure
reportedly took eight hours, but it
was a real image.
Meanwhile, a painter in Paris
named Louis Jacques Mande Da-
guerre was also trying to produce a
camera image. He got in touch with
Niepce and the two worked together
on the problem. Niepce died, poor
and discouraged, a few years later,

but Daguerre continued (with
Niepce's son Isadore as his new
partner).
Daguerre was convinced that silver
was the key to producing a better im-
age than Niepce's asphalt prints. In
1835, his conviction paid off. He
discovered that if a silver plate were
iodized (treated with iodine), exposed
first to light and then to mercury
vapor, and finally "fixed" with a salt
solution, then a visible, permanent
image would result. This discovery
formed the basis for the first photo-
graphic process to be used outside of
a laboratory: the daguerreotype.
In England, William Henry Fox
Talbot was also experimenting with
camera images. By 1835 he too had
succeeded in producing a number of
photographs. With his process, the
first exposure produced a negative
image on paper treated with silver
compounds. The exposed paper was
then placed over a second sheet of
treated paper and exposed to a bright
12 The Photographic Eye
light, producing a positive image on
the second sheet.
Thus, Talbot's process —called a

calotype or talbotype —enabled
photographers to make multiple
copies of a single image. This was not
possible with a daguerreotype, which
produced a positive image directly on
a metal plate. Because the calotype's
image was transferred through a
paper negative, however, it was not
as clear as the daguerreotype.
In 1851, another Englishman,
Frederick Scott Archer, introduced
the collodian wet-plate process,
which offered the best of both
worlds: a high-quality image and
multiple copies. Talbot tried to claim
credit and licensing rights for this new
process as well. In 1854, the courts
overruled him and followed Archer's
wishes by making the process freely
available to everyone.
The collodian process, like the
daguerreotype, was difficult to use.
First, a clean glass plate had to be
evenly coated with collodian (a sub-
stance similar to plastic and contain-
ing potassium iodide). While still
damp, the plate had to be dipped into
a silver nitrate solution, inserted into
the camera and exposed. It was then
developed immediately, and finally

allowed to dry. If the plate dried
before the process was complete, the
emulsion would harden and the pho-
tograph would be ruined. It wasn't
easy, but it worked.
Photography Goes Public
Photography, dominated by the col-
lodian and daguerreotype processes,
began to take off. Cameras were set
up in studios and loaded onto carts
to photograph portraits, landscapes
and battles. Tourists collected inex-
pensive prints of local attractions,
called cartes-de-visite, by the
thousands. The stereoscopic camera
(which produced a three-dimensional
effect by combining two images) was
introduced in 1849. By the 1860s, no
parlor in America was considered
complete without a stereo viewer and
a stack of slides to entertain guests.
Photography had more serious
uses as well. As early as the 1850s,
books of photographs were published
showing the harsh conditions of life
in the streets, factories, mines and
slums of England and the United
States. Lewis Mine, a sociologist,
produced powerful photographs of
children who worked long hours in

Julia Margaret Cameron, Alfred
Tennyson with his sons Hallam
and Lionel, 1865-69. Albumen
print, W/2 x 8>/4" (27 x 22 cm).
Gift of David Bakalar, 1977.
Courtesy Museum of Fine Arts,
Boston.
From Blurs to Big Business 13
Lewis Mine, Doffer Girl in New
England Mill, c 1910.
textile mills and other industries. His
work helped to bring about new laws
to protect children's rights.
At the start of the Civil War, a suc-
cessful portrait photographer named
Mathew Brady asked President Lin-
coln for permission to carry his
cameras onto the battlefields. Per-
mission was granted, and Brady and
his staff compiled a remarkable
record of that tragic period of
American history. Like many of pho-
tography's pioneers, he paid for the
project almost entirely by himself and
died penniless as a result.
In the 1880s, Eadweard Muybridge
invented a device called a zooprax-
iscope which produced a series of im-
ages of a moving subject. It is said
that he did so to settle a bet as to

whether or not running horses lifted
all four hooves off the ground at one
time. By photographing a horse with
his device, he proved that they do. He
also contributed tremendously to our
understanding of how animals (and
humans) move.
These and other similar uses of
photography often achieved a high
degree of aesthetic quality —a high
degree of art. Their primary pur-
poses, however, were practical: to
promote social reform, record his-
torical events and aid scientific
investigations.
14 The Photographic Eye
Mathew Brady, Magazine in
Battery Rodgers, 1863. Library of
Congress, Washington, D.C.
From Blurs to Big Business 15
Eadweard Muybridge, Attitudes of Animals in Motion, c 1881.
But Is It Art?
At the same time, another group of
photographers were dealing with the
purely aesthetic issue of how photog-
raphy relates to the traditional arts,
particularly painting. Is photography
an art at all? If so, how should it be
used? What should "art photog-
raphy" look like? These same ques-

tions continue to provoke discussion
and argument even today. Photog-
raphy is still defining itself.
By the 1850s, two opposing fac-
tions of artist-photographers had
been established. The Pictorialists,
led by Oscar Rejlander and Henry
Peach Robinson, believed that a
photograph should look as much like
a painting as possible. Their idea of
what a painting should look like was
heavily influenced by the Romanticist
painters (such as Delacroix). The Pic-
torialist photographers, like the
Romanticist painters, believed that an
artist should improve upon nature by
using it to express noble ideas. Both
favored elaborate illustrations of
scenes from ancient mythology.
The other faction called themselves
Naturalists. They were led by Peter
Henry Emerson and George Davison.
The Naturalists believed that a
photograph should capture nature's
own truth. They preferred the Bar-
bizon painters, who took their easels
out to the forests, fields and streams,
and painted them directly. The Nat-
uralist photographers did the same
with their cameras, specializing in

peaceful scenes of country life. They
were also increasingly fond of using
soft focus (blurred edges) in their
photographs.
Despite the differences between
them, both the Pictorialists and the
Naturalists believed that a work of
art ought to express a "correct senti-
ment" and that it ought to be decora-
tive—pretty. This is what most set
them apart from the "practical" pho-
tographers, like Brady and Muy-
bridge, whose work showed the hard
edges of reality, with all its flaws.
16 The Photographic Eye
New Tools & Processes
In the late 1880s, flexible film ap-
peared for the first time, replacing
clumsy and heavy glass plates. By the
1890s, George Eastman had intro-
duced the Kodak camera, the first
that was reasonably easy to use. The
camera itself was simple: a box with
a lens, a cord to cock the shutter, a
button to release it and a crank to
wind the film. What made this
camera special was that it came
loaded with enough film for 100
photographs. When the film was
used up, the entire camera was

returned to the Eastman Kodak
Company. The film was then devel-
oped and printed, and the camera
was reloaded and returned, ready for
another 100 photos. Eastman's
slogan was "You press the button; we
do the rest." (The name "Kodak," in-
cidentally, doesn't mean anything.
Eastman selected it because he felt it
would be easy for people to
remember.)
In 1925, Leica introduced its "mini-
ature" camera, the first to use 35mm
film. Though not quite as simple to
use as the earlier Kodak model, it was
technically more sophisticated and
quite a bit smaller As a result,
amateur photography became an in-
ternational passion.
Other technical advances con-
tinued to appear all the time. The
first commercial color film, Auto-
chrome, hit the market in 1907.
Autochrome produced transparencies
(slides) that could not be enlarged
very much without showing the grain
of the starch dyes used to create the
image. It also took fifty times as long
to expose as black-and-white film.
Then, in 1935, Kodak introduced

Kodachrome, an improved slide film,
followed in 1941 by Kodacolor, for
making color prints. The family
photograph album, which had existed
for only 100 years, was now both
widespread and increasingly in full
color.
Peter Henry Emerson, Gunner Working Up to Fowl, c 1886.
From Blurs to Big Business 17
FOCAL POINT: Alfred Stieglitz, 1864-1946
Alfred Stieglitz was in many ways the
first "modern" photographer.
Though his early photographs were
carefully manipulated to imitate
paintings, he soon recognized that
photography was an art in its own
right —and deserved to be treated as
one. He saw the need to free photog-
raphy from the conventions and lim-
itations of painting. Consequently,
Stieglitz promoted what came to be
known as "straight" photography —
making prints with little or no crop-
ping, retouching or other alteration.
He was a founding member and
leader of the "Photo Secession," a
group of photographers who were
determined to break away from pho-
tography's past and to chart its
future. Stieglitz was editor and

publisher of the group's magazine,
Camera Work, the first publication
to deal seriously with photography as
an independent art form. He work-
ed with Edward Steichen to establish
"Gallery 291" in New York City,
which exhibited contemporary pho-
tographs along with paintings by
Picasso, Matisse and Georgia
O'Keefe (whom Stieglitz later
married).
When photography was first in-
vented, it was a scientific novelty.
Soon, it evolved into an excellent
record-keeping tool. Photographers
could be hired to make a lasting
record of a person, place or event. By
the late 1800s, photographers were
striving to elevate their craft into a
recognized art. They did this by im-
itating the content and visual effects
of paintings. Stieglitz'great achieve-
ment was to bring photography full
circle: he merged its artistic potential
with its ability to produce a factual
record. He returned to the straight-
forward approach of the early
photographers, but he did so with the
insight and confidence of a true
artist.

Stieglitz was among the first
photographers to produce work that,
even today, does not look "dated."
Though clothing and architectural
styles have changed considerably
since his time, his best work still looks
thoroughly modern. The main reason
for this is that he used the camera as
we use it today —as a familiar tool for
exploring reality.
The attitudes and interests that
Stieglitz brought to photography can
be traced to his upbringing. He was
born in Hoboken, New Jersey, the
son of German immigrants. He orig-
inally intended to become a mechan-
ical engineer. While in Berlin study-
ing for this purpose, he happened to
see a camera in a store window. He
bought it and soon decided it was
more interesting than engineering.
Alfred Stieglitz, The Rag Picker, New York, 1895.
18 The Photographic Eye
Alfred Stieglitz, The 'Flat Iron', 1902.
Alfred Stieglitz, Sun Rays-Paula-Berlin, 1889.
When he returned to the U.S. at the
age of 26, he was delighted to find
that photography was extremely pop-
ular. But he was also dismayed by the
lack of publications and galleries pro-

moting it as an art. For the next 56
years, he devoted himself to correct-
ing this situation. Along the way, he
produced some of the finest photo-
graphs in history.
FOCAL POINT:
James
Van Der
Zee,
1886-1983
James Van Der Zee, Couple in Raccoon Coats, 1932. Courtesy Donna Van Der Zee.
20 The Photographic Eye
James Van Der Zee was unique in
many ways. First and foremost, he
was perhaps the most accomplished
black photographer in history, and is
certainly the best known today. His
record of Harlem in the 1920s is un-
surpassed, in both quantity and
quality. But he was unique in other
ways as well.
Stylistically, he employed both
stark realism and dreamy roman-
ticism. Technically, he produced
v.
"straight" prints in the style of the
Photo Secessionists (Stieglitz,
Weston, Steichen, etc.) as well as
heavily manipulated images, which
the Photo Secessionists had rejected.

Moreover, he used both approaches
interchangeably, according to his in-
terpretation of a particular scene.
One day he might do a straight out-
door portrait of someone on the
street. And the next day he might
pose a newly-wed couple in his
studio, and produce a double-
exposed print showing their yet-to-be-
born child as a ghost beside them.
Van Der Zee's photographic career
was far from easy. Though he
became interested in photography at
the age of 14 (when he purchased a
mail-order camera and darkroom
kit), he was 30 before he was able to
earn a living at it. In between, he
worked as a waiter, elevator operator
and even as a violinist in a dance or-
chestra. His first photographic job,
in 1914, was as a darkroom assistant
in a department store in New York
City. Two years later, he opened his
own studio in Harlem. Though he
often had to change its location, Van
Der Zee kept his studio in business
until 1969.
In addition to skill and creativity,
he was blessed with good timing.
Black culture was flourishing in

Harlem during the 1920s. Duke Ell-
ington and others were redefining
American music. Adam Clayton
Powell, Langston Hughes, Countee
Cullen and Marcus Garvey were help-
ing to build a new black identity. And
James Van Der Zee was the official
and unofficial photographer for all
of it. He photographed proud black
couples in the streets of Harlem and
in elegant clubs. Celebrities and "or-
dinary people" posed in his studio.
He photographed weddings and
funerals. All together, he compiled
some 75,000 glass plates, negatives
and prints. All of it revealing a world
that was all but ignored by the better-
known photographers of that time.
Van Der Zee received virtually no
recognition outside of Harlem until
1967. At that time, he was featured
in an exhibit, entitled "Harlem on My
Mind," at New York's Metropolitan
Museum of Art. For the last 14 years
of his life, his photography was
widely exhibited, published and
praised. He died at the age of 97,
while in Washington, D.C. to receive
an honorary degree from Howard
University.

proaches to photography.
In Europe, Andre Kertesz, Eugene
Atget, Brassai, and Henri Carder-
Bresson were among the most not-
able of the new wave of artist
photographers. They each devoted
themselves to capturing life as it
really was, in the boulevards and
back alleys and country lanes of
Europe. Yet each did so with a
distinct and original style, a unique
"way of seeing." They saw that
photography was a new and indepen-
A New Breed
Photography was coming into its
own, both as an art and as a business.
Alfred Steiglitz united photography
and painting by opening "Gallery
291," which exhibited new work in
either medium. In his own photog-
raphy and in his critical judgment
Steiglitz promoted a lively realism
that eventually became the standard
for art photography. From 1902 to
1917, he published Camera Work, the
first magazine devoted to artistic ap-
Eugene Atget, L'Escalier de L'Hotel Charron, 7900.
From Blurs to Big Business 21
Edward Steichen, Gloria Swanson,
1924.

dent art, not merely a cheap imitation
of painting. Because of this, they —
along with Steiglitz and other
American peers — may be thought of
as the first modern photographers.
More practical applications of
photography also continued. One of
the most notable examples was a
photographic survey, begun in 1935,
of conditions during the Great
Depression. Dorothea Lange, Walk-
er Evans and other first-rate pho-
tographers were hired by this pro-
ject by the U.S. government's Farm
Security Administration and com-
piled hundreds of photographs that
rank among the best ever produced.
The use of photographs in publica-
tions, a novelty as recently as 1900,
was expanding rapidly. Life magazine
started in 1936 and began a whole
new kind of publishing: photo-
journalism. Alfred Eisenstat,
Margaret Bourke-White and other
photographers on Life's staff quickly
became famous as they recorded the
world's events with their cameras.
By the end of the 1930s, all the
basic ingredients that continue to
define photography were in place:

Photography was increasingly ac-
1937
The SLR
(single lens
reflex)
camera
introduced to
the
U.S.
by
Exacta.
1938
Automatic
exposure
initiated by
Kodak with
its
6-20
camera.
1939
Electronic
flash
developed by
Dr. Harold
Edgerton.
1947
First
Polaroid
camera
developed by

Edwin Land.
1954
First
high-speed
film, Tri-X,
comes onto
market.
22 The Photographic Eye
Yousef Karsh, Ethiopian Bride,
1963. Courtesy Woodfin Camp
and Associates.
cepted as an art in its own right.
Photojournalists were a major source
of information and insight for the
general public (a role that has since
been largely taken over by television
reporters). Advertising had begun
using photography to catch attention
or communicate a message. Portable
cameras had made snapshots a na-
tional hobby.
Where Now?
The list of technical advances in
photography continues to get longer
and longer (see the photographic time
line), and the ranks of great
photographers has expanded steadily
as well. Edward Steichen, Minor
White, Sebastiao Salgado, Edward
Weston, Ansel Adams, Diane Arbus,

Ernst Haas, Eugene Richards the list
is long and subject to fierce debate.
Photography is still a young art.
Painting, sculpture, writing, dance,
acting and music have all been
around for thousands of years. Even
they continue to change at an often
alarming rate. This is all the more
true of photography, which has
1959
Development
of first
zoom lens,
the Zoomar
36-82.
1966
Konica
introduces
first
professional
quality
automatic
exposure
camera.
1972
Polaroid
adds
color
toils
instant

cameras.
1985
Minolta
introduces
the first
professional
quality
automatic
focus camera,
the Maxxum.
1987
Canon
debuts first
"Commercial
Still Video"
system.
1991
Kodak
launches
Photo CD
system and
digital
camera.
From Blurs to Big Business 23
FOCAL POINT: Manuel Alvarez Bravo, 1902-
Manuel Alvarez Bravo, Retrato de lo Eterno (Portrait of the Eternal),
1935. Courtesy The Witkin Gallery, New York.
Throughout the world, photog-
raphers have used the camera to
observe, interpret and record their

own cultures and environments. In
the process, some have also achiev-
ed unique styles that are particularly
appropriate to specific times and
places. Manuel Alvarez Bravo is
among a select group of photog-
raphers who have gone a step
further —discovering a way of seeing
that seems to express the spirit of an
entire culture.
Great works of art are rarely
created in a vacuum. Instead, even
the most gifted artist draws on a
lifetime of experiences and impres-
sions. The work of other artists is
almost always an important in-
fluence. Additional influences may
include one's level of wealth or
poverty; the personalities and values
of friends and family; the climate,
colors, sounds and rituals that are
part of daily life. By combining a
variety of local and international in-
fluences, some artists are able to
create art that breaks through
cultural barriers without losing a
sense of cultural roots. Bravo is one
photographer who has done this.
In his case, the culture is that of
Mexico. He was born in Mexico City,

and has continued to be based there
throughout his life. His father and
grandfather were both artists, one a
painter and the other a photographer.
Before becoming interested in pho-
tography, Bravo studied literature,
music and painting, beginning in
1917. In 1922, he began experimen-
ting with photography. By 1926, he
was using a camera to produce
abstract images of folded paper. By
the early 1930's he was among the
leaders of a creative surge in Mexican
art.
His first solo exhibit was held in
Mexico City in 1932. Soon after, he
became acquainted with Paul Strand,
Henri Carder-Bresson, Walker Evans
and other photographers who were
gaining international attention.
Bravo also met Andre Breton, who
is credited with creating the Surrealist
style of painting. Surrealism, which
employs the symbols and imagery of
dreams, became a major influence on
Bravo's photographic style.
In his best work, Bravo combines
the technical skill and confidence of
photographers like Strand and
Evans; the ability to capture a

"decisive moment" that is char-
acteristic of Carder-Bresson; and the
often disturbing dreamlike qualities
of Surrealist paintings. To this mix of
artistic influences, he adds a deep and
proud understanding of Mexican cul-
ture and a keen awareness of light
and mood. The result is a vision that
is both highly private and universally
accessible.
24 The Photographic Eye
Minor White, Moon and Wall Encrustations, 1964.
barely passed its first century of wide-
spread use.
With most of the traditional arts,
change has primarily been a matter
of style. Michaelangelo and Picasso
used essentially the same materials
and techniques to produce vastly dif-
ferent results. Writers may use com-
puters now, rather than quill pens, but
the process of writing hasn't really
changed very much since Shake-
speare's day. Writing styles, however,
have changed enormously.
In the case of photography, al-
most the opposite is now true: Pho-
tography's essential nature (what it is
and how it works) is in the midst of
radical transformation — a techno-

logical revolution. Photography it-
self is mutating into something new
and strange and unpredictable.
Compared to that, stylistic changes
hardly seem to matter.
What is actually happening is that
photography (along with computer
graphics, electronic music and other
technology-based arts) is moving
away from the traditional, "manual"
arts (such as painting or classical
music). As a result, we are discover-
ing entirely new ideas of how art may
be created and experienced.
The old distinctions between one
form of art and another are breaking
down. Words, images and music are
all beginning to merge. The music
videos on MTV are one typical ex-
ample of this trend. They aren't sim-
ply songs and they aren't quite
movies. They are a new hybrid: mu-
sic and film merging into a new form
of creative expression. Some of them
tell stories. Some are more like mini-
documentaries. Some resemble the
song-and-dance numbers of a
Broadway musical. Similarly, it is in-
creasingly difficult to define the dif-
ference between a painting and a

From Blurs to Big Business 25
photograph, or even between a pho-
tograph and a poem.
In addition, all of the arts are be-
coming more participatory. In the
very near future, it may no longer be
standard procedure for an artist to
create some specific "thing" - a
photograph or a symphony — which
others simply receive by looking or
listening. Instead, each individual
viewer or listener will have the power
to edit, combine and transform an
enormous array of images and
sounds. Your photograph will be raw
material which you may manipulate
in any way you please, and to which
others may then add their own inter-
pretations — and it will all be done
by computer. It is far too early to tell
if all of this is actually an improve-
ment, but it is certainly a change.
That is what's coming. But it isn't
quite here yet.
We are standing on the bridge be-
tween photography's past and its fu-
ture. And so we are able to move
back and forth between them. We
can shoot a roll of film on Uncle
Frank's old Pentax, make a print in a

traditional darkroom and then re-
interpret it on a copy machine — or
scan it into a Mac and make it all
look really weird. There is still a se-
cure place for conventional art pho-
tography, and a wide open field for
experimentation.
We are at the end of an era
—
and
at the start of a new one. This is a
privileged place to be. Enjoy it.
PHOTOGRAPHIC
CAREERS
The number of people who earn a
"living wage" from any art is always
relatively small. Photography is cer-
tainly a case in point. Most pho-
tographers are hobbyists who take
Wedding photography requires technical accuracy, good social skills and and
the ability to quickly arrange natural poses for individuals and large groups.
Photograph by Donald Butler.
pictures for pleasure. Even many of
the best-known art photographers
pay their bills by doing commer-
cial photography or other work on
the side.
Unfortunately, being "good" or
even "the best" won't necessarily
make any difference. Many excellent

photographers have died penniless.
At least a few have made good liv-
ings without having much skill or
creativity. That's the way of all art —
timing, luck and who you know are
at least as important as mastering
your craft.
26 The Photographic Eye